King LearRandom House Publishing Group, 2009 M08 4 - 272 pages A king foolishly divides his kingdom between his scheming two oldest daughters and estranges himself from the daughter who loves him. So begins this profoundly moving and disturbing tragedy that, perhaps more than any other work in literature, challenges the notion of a coherent and just universe. The king and others pay dearly for their shortcomings–as madness, murder, and the anguish of insight and forgiveness that arrive too late combine to make this an all-embracing tragedy of evil and suffering. Each Edition Includes: • Comprehensive explanatory notes • Vivid introductions and the most up-to-date scholarship • Clear, modernized spelling and punctuation, enabling contemporary readers to understand the Elizabethan English • Completely updated, detailed bibliographies and performance histories • An interpretive essay on film adaptations of the play, along with an extensive filmography |
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Page xxiii
... , even years , longer than it might have done . But for the men overseeing the proj- ect , John Hemings and Henry Condell , friends and fellow actors who had been remembered in Shakespeare's will , the additional labor ABOUT THE TEXT xxiii.
... , even years , longer than it might have done . But for the men overseeing the proj- ect , John Hemings and Henry Condell , friends and fellow actors who had been remembered in Shakespeare's will , the additional labor ABOUT THE TEXT xxiii.
Page xxv
... actors not to overstress . In cases where one speaker ends with a verse half - line and the next begins with the other half of the pentameter , editors since the late eighteenth century have indented the second line . We have aban ...
... actors not to overstress . In cases where one speaker ends with a verse half - line and the next begins with the other half of the pentameter , editors since the late eighteenth century have indented the second line . We have aban ...
Page xxvi
William Shakespeare Jonathan Bate, Eric Rasmussen. actors ' cues in the Shakespearean theater . An exception is ... actor and orator : the comma suggests the briefest of pauses for breath , the colon a middling one , and a full stop ...
William Shakespeare Jonathan Bate, Eric Rasmussen. actors ' cues in the Shakespearean theater . An exception is ... actor and orator : the comma suggests the briefest of pauses for breath , the colon a middling one , and a full stop ...
Page xxvii
... actor that Shakespearean stage directions are often dependent upon editorial inference alone and are not set in stone . We also depart from edito- rial tradition in sometimes admitting uncertainty and thus printing permissive stage ...
... actor that Shakespearean stage directions are often dependent upon editorial inference alone and are not set in stone . We also depart from edito- rial tradition in sometimes admitting uncertainty and thus printing permissive stage ...
Page 30
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Contents
Textual Notes | 122 |
ScenebyScene Analysis | 142 |
The RSC and Beyond | 156 |
Shakespeares Career in the Theater | 203 |
A Chronology | 218 |
References | 226 |
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Common terms and phrases
Act 4 Scene actor Adrian Noble Alack Albany Albany's Antony Antony Sher audience bastard beggar blind Brian Cox Burgundy Cordelia Corin Redgrave CORNWALL daughters death disguised dost Dover Duke Duke of Cornwall Edgar editors Edmund Enter Lear Exeunt Exit eyes father feel Following fortune France GENTLEMAN give gods Goneril Goneril and Regan grace hath heart human Ian McKellen Jonathan Bate KENT KENT LEAR King Lear kingdom knave LEAR FOOL LEAR KENT Lear's letter Lines look lord madam messenger Michael Gambon nature night nuncle performance Peter Brook pity played Lear poor Pray production Q corrected Q uncorrected Quarto text Regan role Royal Shakespeare Company running scene sense servant Shake Shakespeare sister speak speech stage storm tell theater thee there's thine things Tragedy traitor Trevor Nunn trumpet villain